By Peter Fletcher

This was not an organ recital such as one might expect, with renditions of organ works by the masters. Kit Downes is undoubtedly well versed in the traditional organists’ repertoire and unquestionably possessed of the required technical expertise, (his father was such an organist) but his métier is improvisation owing much to the vocabulary of jazz and folk and to composers such as György Ligeti, John Adams, Luciano Berio and John Cage. He will present a theme, perhaps a modal folk tune like his first piece ‘Song of the Sea’, in this case on the modest All Saints’ Church organ, accompanied by sustained chords. Bass notes were added to the texture on the pedals and then the improvisation began in earnest. The emphasis is on texture and tone colour; a sonic exploration very much in the moment, reacting to the acoustics, the mechanics of the instrument and to the ambience of the building’s acoustic. The principal texture is that of jazz with a bass line in the pedals, chords in one hand and very fluid melodic invention in the other. There is a John Cage piece in which the players (any) are instructed to choose a note, wander from it for a time, then return to the note. This does not exactly describe Kit’s process of improvisation, but it does suggest the style. There is a tonal centre and either modal or very chromatic movement from and towards it, often with notes clustering around the centre. Intervals of less than a semitone are produced by half-stopping; partially drawing an organ stop so that the pipes speak incompletely, causing a change in the pitch and tone colour. Kit was often playing the keys with one hand whilst ‘playing’ a stop (or two) with the other, causing a detuning effect. This was even more dramatic using mixture stops. Incidental sounds, such as air noises or mechanical sounds were incorporated into the palette. Enhancing the organ improvisation were the mellifluous trumpet of Alex Bonney and, on chamber organs, two organ scholars – Yvette Murphy and James Henby. A most intriguing and thought-provoking performance.

The Festival Players present The Winter’s Tale

By Peter Fletcher

As a midweek break from the marvellous pageant of the Three Choirs Festival, we came to the Bishops’ Garden on a beautiful afternoon to witness a company of strolling players offering William Shakespeare’s The Winter’s Tale. They were six in number and all male as was common practice in Shakespeare’s time; taking several roles each in a most accessible production by their artistic director Michael Dyer. They were all experienced Shakespearian actors and portrayed most vividly their various characters as well as playing and singing (in harmony) the music specially written by folk star Johnny Coppin. Mark Spriggs convinced us of Leontes’ swift and unreasonable jealousy, and his tyrannical insecurity. Edmund Attrill was a fetching Hermione, his wife, and, remarkably soon after, Camillo, a noble man desperately trying to do the right thing. After being Polixenes, the King of Bohemia, Jaymes Sygrove particularly moved us as Paulina, Hermiones’ faithful confidante.

This was a play Pastoral and Comical; in parts Tragical and in setting, if not fact, Historical. The space was quite Pastoral, with The Festival Players’ mobile stage set in the lovely environs of the Bishops’ Garden. Even the tower clock played a part; timely chiming the ¾ hour at the announcement of the death of Mamillius, son of Leontes and Hermione played by Matthew Samuel (who later became the enchanting Perdita, their lost daughter). The Comedy was provided by the shepherds, Mark Spriggs and Tom Everatt and by Will Graham’s unscrupulous Autolycus. Will also lead much of the music; singing and playing guitar. This was enhanced with idiomatic recorder and percussion. The tragical touches were the death of Mamillius and the apparent death of Hermione (spoiler alert) and the Historical setting was a notional Sicily and Bohemia.

This was Michael Dyer’s 14th such production and was affecting and effective, as much as being very approachable.